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35,882 stories from The Stage

Frankenstein review at Southwark Playhouse, London " 'stilted sci-fi adaptation' by Dave Fargnoli

Reworking Mary Shelley's seminal work of gothic sci-fi for the digital age, the National Youth Theatre's Frankenstein explores the line between artificial

SOURCE: The Stage Registration at 5:51am on November 6, 2019

Sydney and the Old Girl review at Park Theatre " 'tedious and unpleasant' by Tim Bano

Eugene O'Hare's debut play The Weatherman prompted mixed reactions when it premiered at London's Park Theatre earlier this year. His follow-up is

SOURCE: The Stage Registration at 5:40am on November 6, 2019

Thriller Live tour producers under fire for 'disgracefully low' wages for dancers by Giverny Masso

Producers of the touring production of Thriller Live have been accused by dancers of offering pay that in some cases falls below

SOURCE: The Stage Registration at 4:06am on November 6, 2019

Long Read: Access all arias " does opera have a gender problem? by Georgia Snow

Opera has long had a shortage of women in creative and leadership roles. Does Annilese Miskimmon's appointment at English National Opera signal

SOURCE: The Stage Registration at 3:00am on November 6, 2019

David Benedict: Where are the great musical theatre lyricists? by David Benedict

When he wasn't busy composing musicals as impressive as On the Town, Candide, West Side Story and Wonderful Town plus a slew

SOURCE: The Stage Registration at 2:00am on November 6, 2019

Editor's View: the Guardian's Michael Billington is the last critic of his kind by Alistair Smith

Speaking to The Stage in 2015, soon after his 75th birthday, Michael Billington pondered the possibility of retirement. "I don't intend to

SOURCE: The Stage Registration at 12:50pm on November 5, 2019

The Green Fairy review at Union Theatre, London " 'pub musical performed by a talented cast' by Joe Holyoake

Julie Atherton has the best mournful, half-cut stare into the middle distance I've ever seen on stage and she puts it to

SOURCE: The Stage Registration at 10:50am on November 5, 2019

The Match Box review at Omnibus Theatre, London " 'a towering solo performance' by Mert Dilek

Grief can be a blinding experience, but it can also give clarity of sight. This is what happens to Sal, the bereaving

SOURCE: The Stage Registration at 10:37am on November 5, 2019

The Mikado review at London Coliseum " 'looks fresher than it feels' by Edward Bhesania

Jonathan Miller's English National Opera Mikado " which transfers the operetta's action from Japan to a British grand hotel in the 1930s

SOURCE: The Stage Registration at 10:28am on November 5, 2019

Michael Billington to step down as Guardian chief critic by Georgia Snow

Michael Billington, the Guardian's chief theatre critic, has announced he is stepping down from the role after nearly half a century. Billington

SOURCE: The Stage Registration at 10:12am on November 5, 2019

Death of a Salesman review at Piccadilly Theatre, London " 'riveting, devastating, stunning' by Tim Bano

Marianne Elliott and Miranda Cromwell's take on Death of a Salesman captures the greatness of Arthur Miller's play, and at the same

SOURCE: The Stage Registration at 5:59am on November 5, 2019

Course leader Lou Cox: Costume should be used as a tool to tell a story by John Byrne

How did you start off in costume? Not via the traditional routes. My background is in fashion, pattern cutting and garment construction,

SOURCE: The Stage Registration at 5:00am on November 5, 2019

John R Wilkinson: Bad country music helped me get through my first directing job by John Byrne

In 2013, I directed Can't Stand Up for Falling Down by Richard Cameron for York Theatre Royal, where I had been working

SOURCE: The Stage Registration at 5:00am on November 5, 2019

The Green Room: What makes a good company manager? by Jon Dryden Taylor

Meet our panel: We have given our panellists pen-names and used stock images but their biographies reflect their real career details… Ros

SOURCE: The Stage Registration at 5:00am on November 5, 2019

Literary manager Stephanie Bain: 'Sometimes you can prejudge too much what an audience wants' by Amber Massie-blomfield

One of Stephanie Bain's key responsibilities as literary manager for London's Almeida Theatre is scouting artistic talent. She tells Amber Massie-Blomfield what

SOURCE: The Stage Registration at 3:00am on November 5, 2019

Costume designer Catherine Kodicek: 'Supportive and inclusive work environments require diversity' by Catherine Kodicek

How do you preserve a work culture? This question has been on my mind recently as I watched a number of beloved

SOURCE: The Stage Registration at 2:00am on November 5, 2019

Phoebe Eclair-Powell wins Bruntwood Prize for Playwriting by Ruth Comerford

Phoebe Eclair-Powell has been named the overall winner of the 2019 Bruntwood Prize for playwriting. Her script Shed: Exploded View spans 30

SOURCE: The Stage Registration at 1:48pm on November 4, 2019

Jerker review at King's Head Theatre, London " 'mesmerising in its intensity' by Paul Vale

Robert Chesley's play Jerker has always been controversial. When it premiered in 1986 in Los Angeles, scenes that were performed on the

SOURCE: The Stage Registration at 1:02pm on November 4, 2019

National Theatre to phase out use of 'ladies and gentleman' front of house by Ruth Comerford

The National Theatre is to phase out pre-recorded announcements that use gender-specific terms. It comes as Equity urges venues to "consider adopting

SOURCE: The Stage Registration at 12:12pm on November 4, 2019

Kes review at Perth Theatre " 'an economical, resonant adaptation' by David Pollock

Originally commissioned by Scotland's Catherine Wheels Theatre Company in 2011, playwright Robert Alan Evans' adaptation of Barry Hines' 1968 novel A Kestrel

SOURCE: The Stage Registration at 12:01pm on November 4, 2019

Giselle review at Sadler's Wells, London " 'lavish spectacle and wonderful performances' by Anna Winter

There's no shortage of spectacle in David Bintley and Galina Samsova's production of Giselle. As befitting this most beloved of Romantic ballets, Hayden

SOURCE: The Stage Registration at 12:00pm on November 4, 2019

Sound designer Paul Gatehouse: 'Audiences have a high bar when it comes to sound, and rightly so' by Fergus Morgan

Musical theatre specialist Paul Gatehouse tells Fergus Morgan about scoring a number one hit with a South Korean boy band, producing live

SOURCE: The Stage Registration at 12:00pm on November 4, 2019

Evening Standard Theatre Awards 2019: the nominations in full by Georgia Snow

The shortlist for the 2019 Evening Standard Theatre Awards has been announced, with nominees including Hayley Atwell, Robert Icke, Andrew Scott, Juliet

SOURCE: The Stage Registration at 11:03am on November 4, 2019

Theatremaker Katherina Radeva: 'Conversations with audiences after my show are extraordinary' by Ruth Comerford

Now touring the revival of her one-woman show Fallen Fruit, written in 2010, Katherina Radeva tells Ruth Comerford how the piece was

SOURCE: The Stage Registration at 10:24am on November 4, 2019

National velvet: Cabaret taking a light-hearted look at Czech hero Vaclav Havel hits the UK by Francesca Peschier

To mark the 30th anniversary of the Velvet Revolution, a show about Vaclav Havel, the former Czech Republic president and playwright, will

SOURCE: The Stage Registration at 10:24am on November 4, 2019
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